1 15 6 https://omeka.wilkes.edu/omeka/files/original/92618e86bcc8c7415f114d336bd51db1.pdf e4ecb5924252154bb12074d040e3ce68 PDF Text Text :• "i FIVE MINUTES IN MEXICO PHOTOGRAPHS BY MARK COHEN SORD GA TR647 C8F5 1989 ��FIVE MINUTES IN MEXICO �FIVE MINUTES IN MEXICO: PHOTOGRAPHS BY MARK COHEN Sordoni Art Gallery Wilkes College May 14 through June 11,1989 The Philip and Muriel Berman Museum of Art Ursinus College March 15 through April 16,1990 An exhibition organized by the Sordoni Art Gallery, Wilkes College and supported in part by a grant from the Pennsylvania Council on the Arts ESJEARilYLiBRARV WILKES UNIVERSITY WILKES-BARRE, PA �■VsCHlVES Introduction and Acknowledge! ,■ Copyright © 1989 by the Sordoni Art Gallery, Wilkes College, Wilkes-Barre, Pennsylvania, 18766. All rights reserved. ISBN 0-942945-00-X 1 H One thousand copies of this catalog were printed on Mead Signature 100 pound papers. 7 he text is set in Schoolbook. lype composition, duotone negative preparation, and printing by Penn Creative Litho, Old Forge, Pennsylvania. Design by Annie Bohlin, It is a rare pleasure for a college gallery to organize am exhibition of works by a member of its own academic commu reputation and contribution to his field has international rar This is the case with the current exhibition, Five Minutes Photographs by Mark Cohen. Cohen is well known for his black-and-white phot Wilkes-Barre and Scranton, their environs and inhabita tradition of the street photographer who captures the “decisv first made prominent as an art form by’ Henri Cartier-Bres uses a 35 mm camera and prefers the immediacy of the silvei more subtle platinum print. His one man show in 1973 at th( Modem Art led to others at the International Museum of P (1974) and the Art Institute of Chicago (1975). For short periods in 1981,1982, and 1985, Cohen mad Mexico: the brevity and intensity of those trips is reflected i this exhibition. Like the photographs of Pennsylvania, 1 pictures are fragments of everyday life, charged with Coh sometimes confrontational energy. But a gentle side of the p is also revealed in pictures of amazing textural richness, compassion. I thank Mark Cohen for collaborating in this participation in every phase of the exhibition, from i photographs to making suggestions for the catalog 1 contributed to its success. Annie Bohlin assisted in the sele< for the exhibition, designed the catalog, and determined tl the photographs reproduced here. Her sensitivity' to Cohe careful overseeing of the catalog production resulted in a p. quality. Marvin Heiferman, who has followed Cohen s cs 70s, provided an insightful essay which gives us an inform on Cohen’s Mexican photographs. The staff of the Zabris New York helped in the early planning stages and made th available to us for loan. The Pennsylvania Council on the matching funding in support of the catalog and travellin 92-- �Introduction and Acknowledgements Copyright - 1089 by the Sordoni Art Gallery, Wilkes College. Wilkes-Barre, Pennsylvania. 18766. All rights reserved. ISBN 0-042945-00-X Ont thousand copies of this catalog were printed on Mead Signature 100 pound papers. The text is set in Schoolbook. Type composition, duotone negative preparation, and printing by Penn Creative Litho, Old Forge, Pennsylvania. Design by Annie Bohlin. It is a rare pleasure for a college gallery to organize and mount an exhibition of works by a member of its own academic community whose reputation and contribution to his field has international ramifications. This is the case with the current exhibition, Five Minutes in Mexico: Photographs by Mark Cohen. Cohen is well known for his black-and-white photographs of Wilkes-Barre and Scranton, their environs and inhabitants. In the tradition of the street photographer who captures the “decisive moment” first made prominent as an art form by Henri Cartier-Bresson, Cohen uses a 35 mm camera and prefers the immediacy of the silver print to the more subtle platinum print. His one man show in 1973 at the Museum of Modern Art led to others at the International Museum of Photography (1974) and the Art Institute of Chicago (1975). For short periods in 1981,1982, and 1985, Cohen made pictures in Mexico: the brevity and intensity of those trips is reflected in the title of this exhibition. Like the photographs of Pennsylvania, the Mexican pictures are fragments of everyday life, charged with Cohen’s uneasy, sometimes confrontational energy. But a gentle side of the photographer is also revealed in pictures of amazing textural richness, humor, and compassion. I thank Mark Cohen for collaborating in this project. His participation in every phase of the exhibition, from selecting the photographs to making suggestions for the catalog format, have contributed to its success. Annie Bohlin assisted in the selection of works for the exhibition, designed the catalog, and determined the sequence of the photographs reproduced here. Her sensitivity to Cohen’s work and careful overseeing of the catalog production resulted in a product of high quality. Marvin Heiferman, who has followed Cohen’s career since the 70s, provided an insightful essay which gives us an informed perspective on Cohen’s Mexican photographs. The staff of the Zabriskie Gallery in New York helped in the early planning stages and made the photographs available to us for loan. The Pennsylvania Council on the Arts provided matching funding in support of the catalog and travelling exhibition. 92-1838iN - �^produce this exhibition. Judith H. O’Toole Director A DIFFERENT tri ��It’s hard to believe that only one hundred and fifty years have passed since the announcement of the invention of photography; but what is even more remarkable is that in that very short period of time (the photographic era being only the tip of the iceberg of recorded development), we’ve become so image-dependent. We read less, but always want to see more. So, more and more magazines are published yearly and in each magazine more and more ad pages are sold and more and more images are reproduced. And we continue looking, like addicts, as the tally of pictures mount. We watch movies in theaters and then drive home through landscapes polka-dotted with satellite dishes, only to shove more movies into the VCR. Not only have we become mesmerized by photography in all of its incarnations, we now actually need the camera’s particular brand of vision, truth, and history. If we live so furiously in a hectic present that we forget the past, photography helps us remember. If our lives seem repetitive and small-time, photography reminds us of the larger world. And if that bigger world starts to move too fast, photography stops it. Photography even shows you how to be someone else, when you don’t like who you are. When life seems totally out of control, when there are riots downtown or plane crashes at the airport or outrageous instances of child abuse in the house next door, photography calms us as it transmits the bad news and the chaos, all within four neat, straight borders. And, most of all, photography gives us a second crack at reality. So, no wonder we enjoy pictures — taking them, being in them, look­ ing at them. Photographs encourage us to remember what has been seen and to study what we never could have noticed: the expression on a face turned away from us, but toward the camera; the full outline of the leg that only attracted our attention from the corner of an eye; the shape of a raindrop unintelligible in the commotion of a storm, but frozen on film. We can now see that the history of the medium has gone full circle. A century and a half ago, we invented photography. And now, the influence of the photographic image is so pervasive that it is becoming obvious that it is the pictures that are defining us. □ Nowhere in the history of photography is this symbiosis between image and identity clearer than in the startlingly ideosyncratic work of Mark Cohen. We like to think of photographers as explorers, visionaries in search of the exotic, documentarians in search of some universal �I and towns of eastern Pennsylvania, Cohen has assembled a unique travelogue of his own Kafkaesque reality, a remarkable body of work that is built upon split-second impulses and reactions. Because his work is so instinctive, and so internalized, he has seldom needed to travel to find subject matter. In his work, the unusual has always existed close at hand. Often just around the comer. Cohen’s photographs are challenging. There’s always just enough of an edge of visual violence in his work — rudeness, nervous energy — to continually confound our expectation of what photography might tell us and what we should be looking for. Using a hand-held camera, pointing it in directions we would never think of, Cohen has compulsively over­ turned Cartier-Bresson’s notion of “the decisive moment,” giving each picture an exquisitely surreal American spin. In his photographs, the decisive moment is never that slice of time in which human nature is revealed, but is the instant that clarifies the distance between what is noticed and what is understood. In Cohen’s American photographs, people tend to look either uncomfortable or, in one way or another, seductive; they are often angry at the camera’s (and Cohen’s) intrusion. Common objects seem isolated, mysterious, menacing. Cohen’s pictures, frequently illuminated by the artificial light of a strobe, are expressions of distraction, masterpieces of the unresolved feeling we all have, but would rather not acknowledge, let alone display. He seldom fails to remind us how far our lives are from how we would choose to have them remembered. It’s ironic that an artist who takes pictures as if he were a tourist in his own day-to-day reality should travel to a foreign country to make calm photographs. But in the images included in this exhibit, made in Mexico in 1981,1982, and 1985, that is exactly what we have the rare opportunity to see. There is no terrifying sense of urgency in these pictures. Mexico is just foreign enough to insert a little distance between Cohen s mind and his nerve endings. His guard is down, he’s relaxed. So, what we see is Cohen figuring out how to situate himself in an environment, rather than define himself against it. Look at the faces of the Mexicans depicted as they look back into the camera. For them, Cohen isn’t butting in. He’s just another gringo tourist, a harmless guy on holiday who will soon disappear with some pictures they will never see. They’re amused by his presence. At most, they’re mildly curious about what he might be looking at. While they are used to this situation, he is not. And we are not. It’s a revelation to see how Cohen works when he has the freedom of a visitor and has nothing to lose. As he shows us street life or people at work and at rest in cafes, what we recognize is Cohen’s curiousity and sense of wonder at work. The pictures don’t explode, they just seem to happen. They have an odd sweetness. A stuffed alligator floats high on a restaurant wall, unex­ pected yet benign. Electrical wires dangle elegantly. And there are pyramids everywhere, from the Pyramid of the Sun at Teotihuacan to the yogurt display in a shop’s display case, from piles of fruit in a market to beehives piled up at the edge of a highway, from a folded white napkin that has fallen on the street to a Christmas tree being carried down the street. People dance, do their chores, live their lives. There are no major confrontations, just leisurely and assured observations. There no impending terror, none of the connoisseurship of little terrors that we’ve come to expect in Cohen’s work. In Mexico, Mark Cohen is a stranger, an outsider rather than a participant. What a relief for him, and for us. The Mexican photographs provide us with a peaceful opportunity to identify the strength, the grace, and the formal assurance that form the underlying structure in all of Cohen’s work, but are often overlooked. Neither he, nor we, can presume to know too much about the people or the lives that have been recorded. There are no existential mini-dramas in any of the images. W e are not encouraged to measure our lives against those of the subjects photographed. But what we are presented with is a rare opportunity to watch how a difficult, brilliant photographer navigates the unknown — with an ease, dignity, and intelligence that we all might envy. Marvin Heiferman �^^homgrXg for two decades in Wilkes-Barre and in the cities d towns of eastern Pennsylvania, Cohen has assembled a unique Svelo-ue of his own Kafkaesque reality, a remarkable body of work -hat is built upon snlit-second impulses and reactions. Because his work is .o instinctive, and so internalized, he has seldom needed to travel to find subject matter. In his work, the unusual has always existed close at hand. Often just around the comer. _ Cohen’s photographs are challenging. There s always just enough of an edge ofvisual violence in his work — rudeness, nervous energy — to continually confound our expectation of what photography might tell us and what we should be looking for. Using a hand-held camera, pointing it in directions we would never think of, Cohen has compulsively over­ turned Cartier-Bresson’s notion of “the decisive moment,” giving each picture an exquisitely surreal American spin. In his photographs, the decisive moment is never that slice of time in which human nature is revealed, but is the instant that clarifies the distance between what is noticed and what is understood. In Cohen's American photographs, people tend to look either uncomfortable or. in one way or another, seductive; they are often angry at the camera’s < and Cohen’s) intrusion. Common objects seem isolated, mysterious, menacing. Cohen’s pictures, frequently illuminated by the artificial light of a strobe, are expressions of distraction, masterpieces of the unresolved feeling we all have, but would rather not acknowledge, let alone display. He seldom fails to remind us how’ far our lives are from how we would choose to have them remembered. It’s ironic that an artist who takes pictures as if he were a tourist in his own day-to-day reality should travel to a foreign country to make calm photographs. But in the images included in this exhibit, made in Mexico in 1981,1982, and 1985, that is exactly what we have the rare opportunity to see. There is no terrifying sense of urgency in these pictures. Mexico is just foreign enough to insert a little distance between o en s mind and his nerve endings. His guard is down, he’s relaxed. So, v at we see is Cohen figuring out how to situate himself in an environment, rather than define himself against it. ook at the faces of the Mexicans depicted as they look back into e cameia. For them, Cohen isn’t butting in. He’s just another gringo tourist, a harmless guy on holiday who will soon disappear with some pictures they will never see. They’re amused by his presence. At most, they’re mildly curious about what he might be looking at. While they are used to this situation, he is not. And we are not. It’s a revelation to see how Cohen works when he has the freedom of a visitor and has nothing to lose. As he shows us street life or people at work and at rest in cafes, what we recognize is Cohen’s curiousity and sense of wonder at work. The pictures don’t explode, they just seem to happen. They have an odd sweetness. A stuffed alligator floats high on a restaurant wall, unex­ pected yet benign. Electrical wires dangle elegantly. And there are pyramids everywhere, from the Pyramid of the Sun at Teotihuacan to the yogurt display in a shop’s display case, from piles of fruit in a market to beehives piled up at the edge of a highway, from a folded white napkin that has fallen on the street to a Christmas tree being carried down the street. People dance, do their chores, live their lives. There are no major confrontations, just leisurely and assured observations. There no impending terror, none of the connoisseurship of little terrors that we’ve come to expect in Cohen’s work. In Mexico, Mark Cohen is a stranger, an outsider rather than a participant. What a relief for him, and for us. The Mexican photographs provide us with a peaceful opportunity to identify the strength, the grace, and the formal assurance that form the underlying structure in all of Cohen’s work, but are often overlooked. Neither he, nor we, can presume to know too much about the people or the lives that have been recorded. There are no existential mini-dramas in any of the images. W e are not encouraged to measure our lives against those of the subjects photographed. But what we are presented with is a rare opportunity to watch how a difficult, brilliant photographer navigates the unknown — with an ease, dignity, and intelligence that we all might envy. Marvin Heiferman �1981 MEXICO CITY ���.. TO RTA5 . Xv.-.y • ���- �a t I ■ �����‘>'fii I.-: -:, : <■' :p I /7 '=- I Ji ���A ��r® —4 -r I SifttaSH BtfillB H I iW^lS§l!S^igiisgli:i^aSii§S -!;lI fi KIIliiiMliHiffl ■; ■ Wil! I =Wi'=iSii»i'!=l^E:g^s=2fsS:=i=i 1 =| if t iijii:iSW120 ifB=.S:=s!g e g I'• aB:;s:a.!Sg’'g.!:^S~i^r?.:gE:Sif:si:g =:s«£«~ g 1 Wf B:ii;iOs®S i gig^gsgSs&seBsg.ggssSgfl?®"^ g II SWIihBIifilfflrtHi I fiMfliiiiBiiiifctt | ^^E:=S:s8:ESi=®Js4i^S«i;::r^S .. — 5* I i- i �1982 MEXICO CITY �... ___ ���saa ��J —. _ ����I 1 BgjM- ?*; ,. J ?;.i: fjga! "i ?-•. ■•■■ • • ■ S rosa blanca I iWffl ! i :\-|F 3y t * 14 . is k I 1 ■ ' ■ |lv L "■Cb?; r ■ »K » ! ��■I : -LI ��I ; | ��I .. L ��1985 VERACRUZ ��I 11 • r ������1 �f I < ■ t w v ■ i1 vj I la. i - ■w ■I t ���£ ��I i ��do*. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. >). 6. 1. 3. 9. 10 11. 12. 13. ilw()w()^n/operall98l lining child in white cape], 1981 11 lark proud nian|. 1981 I Repiii ring I ’yramid of the Sun|, 1981. Weics (Kids in old car at night] 1981 i i inci • - . HittIhtz C’rackers]1981 |(did carrying. hi bag-vest approaches whiteline], 1981 (lloyin-^ iir/ in the whitedressskipping], 1981 girls in schoolclothes], 1981, Tepoztlan 14. t< 15. ids offruit], 1981 ... iiyr.iiH1sheet], 1981 16- [Bee hives/highway], 1982 [Fuses and meters], 1982 [Woman straps shoe in old building], 1982 [Local bar], 1982 [Table and chairs in street; flash], 1982 [La Rosa Blanca], 1982 [Wire lead into soda bottle], 1982 [Girl in small shoe repair], 1982 [Local restaurant and coffee], 1982 [Snack in steel case], 1982 [Napkin in shadow], 1982 [Girl in black skirt], 1982 Veracruz December 12 -19,1985 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. [Chalkboard menu], 1985 [Beauty shop], 1985 [Hanging light bulb], 1985 [Boy laughing; teeth], 1985 [Plastic sheet], 1985 [Waiter and money], 1985 [White sock], 1985 [Young girl eating], 1985 [Kids on sidewalk], 1985 [People dancing], 1985 [People walking/sidewalk], 1985 [Soda truck at gas pump], 1985 [Dog in shadows], 1985 [Napkins in glass], 1985 b.719b’ ■ ,cw v-.... " her-'’" ,1^ n J"' g>■y- teleP"‘ I hill1" Photographs are courtesy of the Zabriskie Gallery, New York. �' .2 i �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1989 May 14-June 11 Five in Mexico Subject The topic of the resource Exhibition programs Creator An entity primarily responsible for making the resource Mark Cohen Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1989 May 14-June 11 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/bf7b4c86bd5c758300719d444a77b6c7.pdf ec688c6f2aeb42457ed30a795b0f377a PDF Text Text ���������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1977 September 10 Mark Cohen Creator An entity primarily responsible for making the resource Mark Cohen Date A point or period of time associated with an event in the lifecycle of the resource 1977 September 10 - October 2 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/79f1b0a433135e4d4736ad51310689c2.pdf 6c3ed4b8f07ab498089eec18fd3af534 PDF Text Text JON'CAR$MAX I*ARK COI|EX STTYE POTESKIE JOE STALLONE �JON CARSMAN After groduoting from Vilkes in 1966, Jon Corsmon went on to tol<e o mosters of ort educotion from New Yorl< University. Currently o pointer ond o printmol<er, he lives ond worl<s in New Yorl.r City. Reolistic in subject motter, Corsmon's worl< is expressionistic in color ond brushstrol<e. He worl<s in ocrylics on convos ond in wotercolor to produce highlycolored, forceful imoges. Corsmon is represented in numerous public ond privote collections. Among the former ore: the Metropoliton Museum of Art, New Yorl<; the Clevelond Museum of Art; ond the Hirshhorn Museum ond Sculpture Gorden, Voshington, D.C. A selection of his one-mon exhibitions include those held ot: the Everson Museum, Syrocuse, New Yorl<; lmoges Gollery, Toledo, Ohio; the Everhort Museum, Scronton; ond the DeGroof- Forsythe Gollery (Ann Arbor ond Chicogo). ln odditlon, his worl< hos been represented in numerous grouP shows including: Pointing ond Sculpture Todoy, The lndionopolis Museum of Art (1976); Americon Reolism, College of Villiom ond Mory, Villiomsburg, Virginio (1 977) ; Collector's Choice, Mississippi Museum of Art, Jocl<son (979); ond Hossom ond (illustroted: #10) Speicher Purchose Fund Exhibition, 5. Tulip Beds, 1982; Sill<screen Americon Acodemy of Arts ond Letters, New Yorl<. 6. Conno Fires, 1982; Sill<screen 1. t. Kentios Shodows, 1978; Votercolor, 29 x 22. Privote 3. convos,60x72 Nocturnol Trumpets, 1978; Votercolor, 29 x22. Privote collection Trexler Conets, 1974: Votercolor, 29 x 22. Privote collection 4. Autumn's Turn, 1980; Votercolor, 29 x22 8. Hunlock's Creek, 1978; Acrylic on collection 2. Polm Gordens, 1978; Votercolor, 29 x22 9. Tohition Fontosy, '1 980; Acrylic on convos, 50 x 40 ,10. Wilkes-Borre, '1 969; Acrylic on convos, 24 x 30. Collection Sordoni Art Gollery. Gift of Mr. Armo Andon, New Yod< �MARK COHEN A 1965 groduote of Vill<es College, Morl< Cohen hos since mode on impoct on contemporory ort photogrophy. An innovotor ond o clossicist ot once, Cohen hos influenced mony other photogrophers. The recipient of this yeors Pennsylvonio Governors Aword for Excellence in Photogrophy, Cohen olso hos been twice oworded o Guggenheim Fellowship, ond in 1975 he received o Notionol Endowment for the Arts Fellowship. Cohen hos hod one-mon exhibitions ot The Museum of Modern Art (1973); Costelli Grophics, New Yorl< (977); Ihe Corcoron Gollery of Art, Voshington, D.C. (1981); ond recently, Morlborough Gollery, New Yorl<. Selected group exhibitions include: Photogrophy in Americo, Vhitney Museum of Art (97 4); 1 0 Photogrophes Contemporoins, Golerie Zobrisl<ie, Poris (977); Mirrors ond Vindows: Americon Photogrophy Since 1969, The Museum of Modern Art (1978); Twenty Americon Artists, Son Froncisco Museum of Modern Art (1980); Counterports: Form ond Emotion in Photogrophs, The Metropoliton Museum of Art (9BD; ond FLASH, University of Hortford (98D. Most of Cohen's photogrophs ore tol<en in the Vill<es-Borre oreo; he hos o studio ot 32 West South Street. 1. Mitten on Hedge, 1975; Color photogroph, 11% x 1l% Restouront/Alligotor, 1981 ; Gelotin silver print, 17% x 11% 2. 3. Three Vhite Choirs/Phormocy, 1981 ; Gelotin silver print, 4. Red Roses/OrongeTruck, 1977; Color photogroph, 1 1% x 17% 1l%x11% 5. Fish Plotter, 1980; Gelotin silver print, 6. 7 . '1 1% x 17% Four Pigeons, 1971;Gelotin silver print, 11%x17% Boy Running / Brick tVoll, 1 976; Gelotin silver print, 11% x 17% 8. Young Gid Holding Dog, 1974; Gelotin silver print, 11% x 11% 9. Snow Folling in Alley, 1977; Gelotin silver print, 11% x 17% 10. EyelEorlSky, 1980; '1 1 . Gelotin silver print, 11% x 17% Apple Blossoms ond Roin Folling in Puddle, 1978; Gelotin silver print, 11%x17% 1 2. Womon/Y.A. / Bldg., 1982; Gelotin silver print, 17% x 11% Mod< Cohen's worl< oppeors with the courtesy of Morlborough Gollery, New Yorl< (illustroted: #3) �STEVE POLESKIE "The oircroft troils smoke to oid in the trocl<ing. The pieces ore never seen os o whole but only os o process of creotion for os soon os o line is put down in Steve Poleskie, o 1959 groduote of Vill<es, teoches ort :t Cornell University in lthoco, \ew Yorl<. He hos troveled extensively, lecturing, exhibiting crd performing. He is 'epresented in collections rcluding: the Museum of Modern ,Art; the Metropoliton Museum of ,Art; the Vhitney Museum of .Americon Art; the Volker Art Center, Minneopolis; ond the -'lerbert F. Johnson Museum, smol{e it is erosed by the wind ond remoins only in one's memory." Steve Polesl<ie Ithoco, New Yorl< August, 1982 All worl<s ore drowings ond photogrophs on poper, 22% x 15. rhoco. The works in this show ore oreporotory sketches for oerobotic slly ort pieces executed ot the Stote University of New Yorl<, Brocl<port ond 1 I Durchose cornpuses. Prior to doing o sl<y ort piece I fly over the site ond photogroph it. om lool<ing ot its oesthetic potentiol os well os for possible hozords to the oircroft operotion. ''I then return to the studio ond mol<e dozens of sketches for possible pieces. I must tol<e into considerotion such things os the wind, the position of the sun in relotion to where the moin body of spectotors will be ond o sofe londing oreo should something go wrong with the oirplone. Of these sl<etches only four or six moy be octuolly executed ond even these moy be modified on the spot to suit the prevoiling conditions. I . Brockport - 2. Drockport 3. Purchose 4. Brockport 5. Brockport 6. Purchose 7. Purchose 8. Purchose 9. Purchose - 10. 11. 12. Purchose Purchose Purchose - 4, 1980 36, 1980 11, 1979 8, 1980 9, 1980 16, 1919 25, 1979 34, 1979 14, 19'79 5, 1979 12, 1979 3, 1979 �FOUR FROM VILKES: CARSMAN, COHEN, POLESKIE AND STALLONE September 19 October 24, 1982 Sordoni Art Gollery Wilkes College '150 South River Street Vilkes-Borre, PA 'l 8766 All dimensions ore in inches; height precedes width. Vorks included ore for sole unless otherwise indicoted. lnquire ot the Gollery office. lgg2 _ 19go EXHIDITION SCHEDULE Oct. 30 - Nov. 28 Alumni Trienniol Dec. 5 - Jon.2 Vilkes Art Foculty Jon.9- Feb.6 Pennsylvonio Prints Feb. 12 - Mor. 6 Scholostic Art Awords Regionol Mor. 20 - Apr.24 1933 Revisited, Americon Mosters of the Eorly Thirties Moy 1 - Moy 29 Bucknell University Art Foculty June 17 - July 3, Domestic Yiolence Service Center \Vomen's lnvitotionol �CABSMAX colltN POLESKIE STALLONE �SORDONI ART GATLERY VILKES COILEGE 150 5. RIVER 5T., VILKES-BARRE, PA 18766 "FOUR FROtut YILKES: CARSiAAN, COHEil, POLESKIE. STALLONE" September 19 to October 24, 1982 Reception: September 20 5-7 p.m. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1982 September 19 Four from Wilkes Creator An entity primarily responsible for making the resource Jon Carsman Mark Cohen Steve Poleskie Joe Stallone Date A point or period of time associated with an event in the lifecycle of the resource 1982 September 19 - October 24 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/909767f9477a215eabe9681e405563ff.pdf 4ef7dad72f4d43c8166e25f5d1901915 PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1985 January 13 Wilkes College Arts Faculty Exhibition Creator An entity primarily responsible for making the resource Mark Cohen Dennis Deane Bernice D'Vorzon Richard A. Fuller Herbert B. Simon William H. Sterling Date A point or period of time associated with an event in the lifecycle of the resource 1985 January 13 - February 3 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The 1985 Wilkes College Art Faculty Exhibition included artists the like of Mark Cohen, Richard A. Fuller, and William H. Sterling. This exhibition spanned across multiple mediums including painting and sculpture Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/0184eac94bfdab20d4242853dce8fe24.pdf 8f94275d8f554c493b4932ba0c09b822 PDF Text Text ������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1990 October 21 Wilkes University Art Faculty Biennial Creator An entity primarily responsible for making the resource William Sterling Jean C. Adams Sharon Bowar Herbert Simon Mark Cohen Richard Fuller Michael Stanford Date A point or period of time associated with an event in the lifecycle of the resource 1990 October 21 - November 25 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The Wilkes University Art Faculty Biennial is a showcase of work from the arts faculty circa 1990 Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/e9b63917c2a1757b6a07d327306b022e.pdf 0e16d37ad3ec8868c8c40062e5c37340 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1992 August 23 Wilkes University Art Faculty Biennial Creator An entity primarily responsible for making the resource Sharon Bowar Richard Fuller William Sterling Jean Adams Mark Cohen Kevin O'Toole Michael Standford Date A point or period of time associated with an event in the lifecycle of the resource 1992 August 23 - September 17 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The Wilkes University Art Faculty Biennial is a showcase of work from the arts faculty circa 1992 Type The nature or genre of the resource Postcard Subject The topic of the resource Wilkes University faculty